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Musical World

Jessica Jones

  • Soprano

Reviews

Jessica Jones Critical Acclaim

“For me, high points include a sympathetically sung Countess by Jessica Jones and a Elizabeth Caballero as a lithe Susanna. In fact, I can’t imagine the performance would have been as successful without the effort of these two sopranos. They were well matched and when they weren’t on stage I was eagerly anticipating their return.”

Zach Carstensen, Sound Magazine, May 5, 2009

“I soon succumbed to soprano Jessica Jones (Fiordiligi), especially when she conveyed her character's genuine pain and anguish in the moving Act II aria ‘Per pietà’.”

John Barker, Isthmus Daily, March 16, 2009

“Jessica Jones, as a pregnant Donna Elvira…made the role sympathetic as well as comic.”

Chris Pasles, LA Times, January 17, 2007

“She sang radiantly and, after more story unfolded, reprised her Act I aria with even more thrilling beauty.”

Charles Ward, Houston Chronicle, April 16, 2006

“Jessica Jones has a fluent, rich soprano that she employed ably as Fiordilgi…”

R.M. Campbell, The Seattle-Post Intelligencer, February 27, 2006

“…Jessica Jones' agile, well-sung Fiordiligi…”

Melinda Bargreen, The Seattle Times, February 27, 2006

“Jones makes Marguerite's transformation from innocence to madness thoroughly believable. Her performance of the "jewel song," "Je ris de me voir," is full of sweetness and playfulness, and well showcased a rich, full soprano voice that never degenerated into shrillness.”

James D. Watts Jr., The Tulsa World, October 10, 2005

“Jones displayed a healthy, attractive voice (some full-throated fortes were especially winning), interpretive versatility and that precious intangible called charm. Jones offered a lusty, vigorous performance, suggesting, in true French style, that dissolution, however regrettable, has pleasures of its own.”

Tim Page, The Washington Post, September 28, 2004

“Jessica Jones is a poised, confident, competent singer…she can sound luxuriant and refulgent…She is well suited to Mr. Kernis’s juicy, soaring songs.”

Jay Nordlinger, The New York Sun, June 23, 2003

“Jessica Jones, the soprano soloist, sang with ample shimmer and impenetrable diction.”

Martin Bernheimer, Financial Times, June 23, 2003

“Soprano Jessica Jones is Love Simpson, the lovely milliner who is tougher than she appears. Her reminiscence on a life lived in ‘Rented Rooms’ is especially poignant in light of a later revelation about her painful childhood.”

Cathy Reese Newton, The Salt Lake City Tribune, May 19, 2003

“Jessica Jones, as Love Simpson, is radiant”

Edward Reichel, Deseret News, May 19, 2003

"Sung with supple, warm and knowing authority throughout her range by soprano Jessica Jones, the Strauss songs were deeply enriching, a lush yet spiritual experience shaped with a cool sense of proportion between specific detailing and general effect. "

Welton Jones, sandiego.com: February 2003

“Jones’ bright, penetrating soprano ranged far and wide, laying out an unfamiliar, and at times tension-filled landscape…in her frequent a cappella moments, Jones’ voice floated through the gentle melodic line as easily as a soul at peace with itself.”

Wynne Delacoma, Chicago Sun-Times, November 16, 2002

“ …the music’s emotional crescendos, gloriously rendered by Jessica Jones.”

Jennifer Dunning, The New York Times, Saturday, May 4, 2002

“ Soprano (Jessica Jones) was a strong guest singer.”

Charles Ward, Houston Chronicle: Monday, March 18, 2002

“ In her silvery tone…She (Jessica Jones) delivered an aria from Tchaikovsky’s Pique Dame with particular sensitivity and dramatic fire; her encore, Lehar’s Meine Lippen, sie küssen so heiss, was deliciously phrased.”

Baltimore Sun, Monday, October 22, 2001